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Lot 126
Lilian Lucy Davidson ARHA (1879-1954) The Seine, Paris, Through Trees Watercolour, 40 x 33cm (15¾ x 13'') Signed with monogram Originally from Bray, Co. Wicklow, Lilian Davidson studied at the Dublin Metropolitan School of Art where she was a prize-winning student. In 1897 she won the RDS Scholarship which carried a free studentship, it didn’t come too soon as that was the year of her father’s death. She began exhibiting at the RHA in 1914 and did so regularly until her death. When in Dublin she taught painting privately in her studio and at schools around the county. Although not in very buoyant financial circumstances she travelled extensively and did so for most of her life. She painted landscapes in France, Belgium and Switzerland, besides various parts of Ireland. She first exhibited at the Watercolour Society in 1912, and did so until 1954. She also exhibited regularly with the Dublin Painters Society (1939-54) and the Munster Fine Art Club, and was part of an interesting circle, being friendly with Jack Yeats whom she painted. She also wrote plays under the pseudonym of ‘Ulick Burke’, and her most famous play 'Bride' was directed at the Gate Theatre by Hilton Edwards, with sets designed by Michael McLiammoir. She was certainly aware of the works of Honore Daumier and Jean Francois Millet and used the same prototype of humanity for important works depicting the Irish Peasant. Davidson portrayed the Claddagh, the Irish-speaking district of Galway, at a time when she was involved with the Torch Theatre for whom she was writing a play. Her portraits of Jack B. Yeats and Sarah Purser can be found in the permanent collection of the National Gallery of Ireland, and other works including a self-portrait 'The Golden Shawl' are in Dublin City Gallery, the Hugh Lane, the Abbey Theatre and Ulster Museum Collections.
Lot 24
STYLE OF GABRIEL BERANGER (c.1729-1817) Trim Castle, County of Meath Watercolour, 14 x 19cm Inscribed 'Trim Castle, County of Meath from Dr. Wynn' Provenance: With Cynthia O'Connor & Co. Ltd., Dublin. Born into a French Huguenot family who had settled in Rotterdam, Berenger followed some family members to Dublin at the age of twenty-one in 1750. His skill as a draughtsman and recorder of topographical views set him apart and his first recorded work, dated 1751, is a view of the ‘Round Tower of St Michael le Pole’ (RIA Collection), - a drawing of some importance as the 6th century church was demolished shortly thereafter having been adversely damaged in the great storm of 1775. Strickland notes that in 1763 he was making sketches of ruins and remarkable places and buildings in and around Dublin. He exhibited many of these drawings in the Society of Artists during the 1760s and again in the early ‘70s. In 1773 he made the first of his antiquarian tours of the country, commencing in Co. Wicklow. His skills were recognised by the newly formed ‘Antiquarian Society’ who employed him to make plans and drawings of antiquities for the society. This involved Berenger in travelling throughout the country, but particularly the south-east and also Meath and Louth. He kept an itinerary illustrated with sketches and arranged them for publication in bound volumes. One of these volumes, entitled “A Collection of Drawings of the Principal Antique Buildings of Ireland designed on the spot and collected by Gabriel Beranger” was presented to the Royal Irish Academy by Dr Sharkey.
Lot 27
LUCIUS GAHAGAN (1773-1855) Bonaparte's Throne Watercolour, 37 x 26cm Signed and dated 1817; inscribed verso 'Bonaparte swears to the Constitution, December 2nd 1804' Lucius Gahagan (1773-1855 or 1866) The Gahagan (Geoghegan) family tree is a puzzle as the exact relationship between the seven sculptor members of the family is unclear. Walter Strickland in his ‘A Dictionary of Irish Artists’, first published in 1913, refers to a Laurence Geoghegan (fl.1756-1820) as a sculptor. He was first mentioned in 1756, having received a premium of four pounds by the Dublin Society for ‘a piece of sculpture’. He later went to London, and in 1777, having altered his name to ‘Gahagan’, received a premium of thirty guineas from the Society of Arts for a cast of a Figure. His brother Sebastian Gahagan (fl.1800-1835) is also recorded by Strickland as being a sculptor, working in London for Joseph Nollekens RA. There are various references to other Gahagans who are thought to be off-spring of either Laurence or Sebastian. Lucius, one of the next generation, was apparently born in Dublin in 1773 and, despite his obvious skill at drawing, he made his living as a sculptor and lived in Bath from about 1820 until his death. Much of the extant work, both drawings and sculpture, is simply signed ‘L.Gahagan’ compounding the confusion. These drawings, while of differing dates in the early 19th century, would appear to reflect the fashion in Britain for Napoleonic memorabilia and design, particularly after the Battle of Waterloo in 1815. They date from as early as 1817 to as late as 1831 but are quite distinctly by the same hand which would rule Laurence out as the artist. A similar work to this tranche, and undoubtedly from the same series was sold by Sotheby’s London in 2008, attributed to Laurence Gahagan. This collection was exhibited by Cynthia O’Connor and Co. Ltd in Dublin in an undated Christmas show of ‘Old Irish Watercolours’, where they were purchased by Homan Potterton. They were described as Sketches “From the large Panoramic Model Executed in Terra Cotta by L.Gahagan & Exhibited in Bath ….. and Cheltenham in 1817 - 18 & to 2(2 or 4)”.
Lot 54
EDWARD A. FOLEY (1814-1874) Portrait Bust of the Actor William Farren (1786-1861) White statuary marble, c.75cm high Signed and dated 1841 William Farren was born on the 13th of May 1786, the son of an actor (b. 1725) of the same name, who played leading roles from 1784 to 1795 at Covent Garden. His first appearance on the stage was at Plymouth at the Theatre Royal, then under the management of his brother Percy, in Love a La Mode. Having spent some time in Dublin, he returned to London as ‘William Farren of Dublin’ and his first London appearance was in 1818 at Covent Garden as ‘Sir Peter Teazle’, a part with which his name is associated. He played at Covent Garden every winter until 1828, and began in 1824 a series of summer engagements at the Haymarket which also lasted some years. At these two theatres he played an immense variety of comedy characters. From 1828 until 1837 he was at Drury Lane, where he played a wider range of characters, including Polonius and Caesar. He was again at Covent Garden for a few years, and next joined Benjamin Webster at the Haymarket, as stage-manager as well as actor. The present work by Edward Foley was completed in 1841 when the actor was at the height of his popularity, just two years before he suffered a stroke on stage at the close of his performance of the title-part in Mark Lemon's Old Parr. He was, however, able to reappear the following year, and he remained at the Haymarket a further ten years, though his acting never again reached its former level. During his later years he confined himself to old men parts, in which he was unrivalled. In 1855 he made his final appearance at the Haymarket, as Lord Ogleby in a scene from the Clandestine Marriage. He died in London on the 24th of September 1861.
Lot 96
JOHN LEWIS (ENGLISH SCHOOL, FL.1736-1776) Portrait of a Lady in a Blue Silk Dress Oil on canvas, painted oval, 75 x 63cm Signed and dated 1774 Scant information is available about Lewis before he was engaged as a scene painter at Smock Alley Theatre in Dublin. At that time the theatre was run by Jonathan Swift’s godson the playwright, Thomas Sheridan (1719-1788). Sheridan is credited with gentrifying the neighbourhood around the theatre and returning the title of ‘Theatre Royal’ to Smock Alley. Lewis lives on in Irish theatrical history as the first scene-painter to be permanently engaged on the staff of a Dublin playhouse, a role that lasted from 1750 until 1757. He seems to have aligned himself with Sheridan and when the Director retired in 1754, Lewis too ceased his involvement with the theatre only to return later when Sheridan resumed the management. Strickland noted that Lewis painted a beautiful ‘act-drop’ for Smock Alley at a time when London theatres had nothing but the usual green curtain. He also painted three or four sets of scenes including one for “The Emperor of the Moon” in 1757, the final year of his involvement with the theatre. Throughout his time in Dublin he devoted much of his spare time to painting portraits, including one of Sheridan himself and the actress Peg Woffington, which is now in the permanent collection of the National Gallery of Ireland. On a visit to Quilca House, near Mullagh in Co. Cavan, Sheridan’s family home, he decorated the parlour with painted clouds on the ceiling and portraits of Sheridan, Swift, Shakespeare and Milton along with allegorical figures on the east wall. The house fell into decay a short time later and all but one of the decorations were lost.
Lot 1808
A GOLD, CABOCHON EMERALD AND DIAMOND THREE STONE RING AND ANOTHER RING (2)The first mounted with an oval cabochon emerald between two circular cut diamonds, detailed 750 18K, ring size M and a half, the second mounted with an oval cabochon sapphire between circular cut diamonds, detailed 18K 18K, ring size M. Combined gross weight 9.3 gms.
Lot 1829
AN ITALIAN CUT CORNERED RECTANGULAR MALACHITE BOXProbably Italian, first quarter of the 19th century, the cover mounted with an oval micro mosaic depicting the figure of a youth beside a tree and a well. Size 8.3cm x 5.5cm (damaged).Condition Report: The mosaic - Old damage and subsequent repair at about 5 o'clock to the edge of the mosaic. It is otherwise in good condition. Size of mosaic 5.3cm x 3.9cm. The apparent damage on the left side of the frame of the mosaic is an accumulation of dirt. The box: There is wear to the gilding of the thumbpiece. The hinge is in good condition There is some old damage and repair to the malachite bottom of the box The malachite parts from the front generally make a whole, there may be a few tiny particles where the larger pieces have separated, which are no longer present.
Lot 563
AN ENGLISH SILK WORK EMBROIDERED PICTURE OF A NESTING BIRDSFirst half 19th CenturyPossibly depicting two skylarks, later framed, 24 x 26.5 cmCondition report: Fading with age and exposure to sunlight commensurate with age. Some areas of wear and thinning, notably to the ground fabric. Various spots and marks of discolouration. Several small, odd chips to the edges of the frame and a few marks.
Lot 565
AN ART NOUVEAU SILVER MOUNTED AMBER WALKING CANE AND ANOTHER (2)Early 20th CenturyThe first with pommel handle and rosewood shaft, 92cm high; the second with a French carved ivory parasol handle, late 19th century and later adapted, 90cm high (2)Condition report: The amber example in good condition, with some rubbing, minor scuffs, wear and tarnishing commensurate with age and use. Minor wear to the ferrule. The ivory example carved as a wild rose, twisting up the handle. Slightly discoloured and dirt to the grain. Some small chips and losses to the details and edges of the carving, notably to the larger flower head’s petals. Later cane shaft with various small scuffs, wear and dirt to the cane shaft and wear to the ferrule.
Lot 614
A PAIR OF OVAL SILK WORK PICTURES OF PARROTS (2)First half 19th CenturyMounted in gilt composition frames, 36.5cm wide; 31.5cm highCondition report: Fading overall, commensurate with use and age. The ground cloth with numerous creases. One with various small marks and holes which have been disguised at some point.Frames with losses and chips, notably to the top of one where the ribbon tied crest is mostly chipped off . Other scuffs and scratches.
Lot 1104
A VICTORIAN MAHOGANY CHESTWith two short over over two long drawers, 100cm wide; 80cm highOld marks and scratches all over the chest, some signs of old repairs to the first long drawer moulding, some small chips to the bun feet, with smooth drawer Action To All four drawers. Please see additional photos on the Website.
Lot 164
Tudor. A stainless steel automatic calendar chronograph bracelet watchModel: Heritage Chrono BlueReference: 70330 BDate: Purchased January 2014Movement: 55-jewel ETA Cal.2892 automaticDial: Blue accented opaline, polished block hour markers with luminous inserts, white outer 1/5th second divisions on a blue ground with orange Arabic numeral 5 minute markers, date aperture at 6, subsidiary dials at 3 and 9 for seconds and 45 minute recording, polished pointed baton hands with luminous inserts, orange centre chronograph handCase: Brushed and polished tonneau form, screw down back and shouldered crown, twin screw down pushers, blue bi-directional 12 hour bezel for second time-zone, No.2827129Strap/Bracelet: Fitted brushed linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 42mm Accompaniments: Tudor box, outer card, International Guarantee card, spare steel links, two spare canvas straps, guarantee booklet, instruction bookletFootnotes:Launched in 2013 the Tudor Heritage Chrono Blue harks back to the days of the Monte Carlo reference 7169. The Monte Carlo series were the first chronographs produced by Tudor and are instantly recognisable by the distinctive dial with angled blue subsidiary dials instead of the more normal circular subsidiaries used by the other chronographs of its time. This striking dial combination of vibrant orange and blue have been translated into the Heritage Chrono Blue range giving the 70s design a contemporary freshening up whilst retaining its distinctive style.For further information on this lot please visit Bonhams.com
Lot 68
Universal Genève. An 18K rose gold manual wind chronograph bracelet watchModel: CompaxReference: 12494Date: Circa 1950Movement: Jewelled Cal.285 manual wind, column wheel chronographDial: Silvered, applied gilt dart hour markers, Arabic 12, black outer 1/5th second divisions, blue outer tachymetre scale, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, gilt leaf hands, blued steel centre chronograph handCase: Brushed and polished round, snap on back, crown flanked by twin buttons, No.144580CStrap/Bracelet: Associated 18K gold woven linkBuckle/Clasp: 18K gold folding claspSigned: Case, dial & movementSize: 34mmFootnotes:First introduced to the market by Universal Genève in 1936, the Compax was the first ever wristwatch to feature an hour counter within the subsidiary chronograph dials.For further information on this lot please visit Bonhams.com
Lot 67
Jaeger-LeCoultre. A 9K gold automatic wristwatch with power reserveModel: FuturematicDate: London Hallmark for 1956Movement: Jewelled Cal.497 bumper wound automatic, No.1068991Dial: Silvered, alternating gilt dagger hour markers and Arabic numerals, outer minute track, subsidiary dials at 3 and 9 for seconds and power reserve, polished lance handsCase: Polished round, snap on back, back winding, No.20315Strap/Bracelet: Brown Jaeger-LeCoultre alligator leather Buckle/Clasp: Signed 18K gold buckleSigned: Case, dial & movement Size: 35mm Accompaniments: Jaeger-LeCoultre box, outer card, Jaeger-LeCoultre Repair Guarantee Certificates dated November 2010 and October 2008Footnotes:Originally launched in 1952, the Futurematic was billed by Jaeger-LeCoultre as the worlds first '100% automatic watch'. Popular with the American market, the model featured a shock resistant movement and oversized antimagnetic balance wheel.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 109
Seiko. A stainless steel automatic calendar chronograph bracelet watchModel: 'The Pogue'Reference: 6139-6002Date: Circa 1978Movement: 17-jewel Cal.6139B automatic Dial: Sunburst yellow, applied hour luminous block markers, black outer 1/5th second divisions, further outer minute divisions on white ground, day and date apertures at 3, polished baton hands with luminous inserts, red centre chronograph handCase: Brushed and polished tonneau form, screw down back, fixed bezel with blue and red tachymeter scale, crown flanked by twin pushersStrap/Bracelet: Fitted brushed linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movement Size: 41mmFootnotes:This watch is popularly known as 'the Pogue' having been worn by Col. William R. Pogue during a NASA mission to space in 1973 making it the first automatic chronograph to be worn is space.For further information on this lot please visit Bonhams.com
Lot 45
Patek Philippe. A platinum and diamond set keyless wind open face pocket watch with Hollywood inscriptionDate: Manufactured 1928, Sold 26th September 1929Movement: 18-jewel Swiss lever, adjusted to 8 positions, signed Brock & Company, Los Angeles, Calif, No.821149Dial: Brushed silvered, diamond set Arabic numerals, outer silvered dot minute divisions, subsidiary seconds at 6, diamond set platinum syringe handsCase: Polished round, diamond set bezel, crown and bow, black enamel rim, snap on back engraved 'To my first talkie director Frank Borzage, token of admiration and sincere friendship from John McCormack, Jany.1930', No.415118Signed: Case, dial & movementSize: 44mm Accompaniments: Extract from the ArchivesFootnotes:John Francis McCormack (1884-1945) was a celebrated tenor from Ireland known for his operatic and popular song performances. With appearances in Hollywood movies such as 'Song O' My Heart' and 'Wings of the Morning' and credited with creating the first recorded rendition of 'Its a long way to Tipperary', McCormack was one of the most successful tenors of his day. The current lot is a highly attractive Patek Philippe pocket watch with diamond set bezel and bears a personal inscription from John McCormack to Frank Borzage who was the producer on the film 'Song O' My Heart'. The film focuses on a retired opera singer who has returned to his small Irish village with the subtle hope of reuniting with his childhood love who is now living in difficult circumstances with her two children. It is believed that McCormack used the salary he earned for this movie to purchase the Runyon Canyon Estate in Hollywood.McCormack was also known for his dedication to supporting Catholic charities and the Red Cross and was bestowed the title of Papal Count from Pope Pius XI in recognition of his work.For further information on this lot please visit Bonhams.com
Lot 927
A group of Royal Crown Derby Imari pattern ornamental porcelain, late 20th c, comprising three dishes, cigarette box and cover, oval box and cover, loving cup and bell and a Royal Crown Derby 1977 Royal Silver Jubilee commemorative Witches pattern plate, plate 21.5cm diam, printed marks (10) All in good condition and of first quality
Lot 992
A Royal Doulton bone china plate, outside decorated, c1911, painted by C Harrison, signed, with three groups of colourful flowers including prominent roses, 27cm diam, impressed date 4-11, a Cauldon bone china plate, dated 1923, painted by S Pope, signed and dated, with wild flowers in gilt rim, 22.5cm diam, printed mark and another Copeland plate, c1885, painted by J Birbeck, signed, with a timber wagon fording a river, 24.5cm diam, impressed F85, printed mark (3) First plate - good condition, no restoration. Second plate - Good condition. Third plate - Foot ring drilled for suspension and rim left ungilt, presumably as intended to be framed or hung as a plaque; good condition
Lot 1050
A brass and black painted iron compound microscope, late 19th c, the limb on trunnions between shaped side plates with micrometer screw adjustment, having eyepiece, objective, substage wheel of stops and concave mirror, on Y-shaped low tripod with round feet, indistinct cast circular mark ...OPTICIAN and another contemporary brass compound microscope, Smith & Beck London, No 1391, attached mahogany baseboard (2) First - iron re-painted thereby obscuring the maker's name, lacquer degraded, mirror undamaged. Smith & Beck microscope - mirrors affected by damp, lacquer mostly rubbed off, generally rather dirty showing signs of use
Lot 1318
Postage Stamps. The extensive Great Britain, British Commonwealth and all world collection of mainly 20th c mint and used issues, many UM or fine used, presentation packs, first day covers and PHQ cards, in 30 albums and stockbooks, on leaves or sorted into packets, to include high quality slip cased SG album with hingeless mounts on linen hinged leaves, including GB from Edward VIII - 1980's and Commonwealth 1935 Jubilee, Japan, British colonies A-B and Newfoundland and earlier, in bulging SG viceroy album Unchecked and would re-pay examination
Lot 1339
An English steel straight-pull corkscrew, mid 19th c, with barrel handle and brush,13cm h; a pair of butter pats, two butter moulds, one relief carved with acorns, the other with wheatsheaves and leaves, a wooden paddle and a glass scent phial and stopper mounted in a turned boxwood case with screw down cover, 7.5cm h Some woodworm to larger butter mould, damp staining to paddle, other general wear, corkscrew with wear to turnings. Handle to first item chipped
Lot 1647
A composed set of ten hoop back Windsor 'gothic' side chairs, Thames Valley region, first half 19th c, the hoop back with traces of bent bows of yew wood (on the eight chairs) or ash (on the elbow chairs), on turned legs with crinoline or turned stretchers, elm seat, including two elbow chairs, seat height 44cm and circa Back of one chair loose; localised worm holes to hoop; one hoop back damaged and repaired, one chair dark stained; arms of elbow chairs with some movement
Lot 100
Two boxed Hornby dublo locomotives, the first 4.6.0 'Denbigh Castle' no. 2220, with Great Western tender, original instructions and box; the second 2.6.4 Tank Locomotive no. 2218, with instructions (2)Condition report: Denbigh Castle - train and tender appear to be in good condition. Box with splits, corner tear, end tearTank engine - appears to be unused. Box with minor corner wearPlease see additional images. 2 Rail.
Lot 103
Two swords, the first a court sword by Stulz, Wain & Pape, Clifford St. London, in scabbard. 95cm long overall, the second George V, in scabbard. 101cm long.Condition report: Both in very poor condition, very rusty blades, poor scabbards, need complete restorationBlades and scabbards corroded. The leather scabbard is worn and repaired. Please see additional images.
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